St. Thomas Aquinas never commented on the Song of Songs. The purpose of this book is to demonstrate, however, that he meditated on it and absorbed it, so that the words of the Song are for him a familiar repertoire and a theological source. His work contains numerous citations of the Song, not counting his borrowings of vocabulary and images from it. In total, there are 312 citations of the Song in Aquinas’s corpus, along with citations of the Song that are found in citations that Aquinas makes of other authors (as for example in the Catena aurea). Understanding the purpose and placement of these citations significantly enriches our understanding of Aquinas as a theologian, biblical exegete, and spiritual master. The book contains an Appendix listing and contextualizing each citation. The study of the citations of the Song especially illuminates Aquinas’s spiritual doctrine. By citing the Song, Aquinas emphasizes the spiritual life’s path of dynamic ascent, through an ever increasing participation in the mystery of the nuptial union of Christ and the Church through love. The Song also highlights the eschatological tension or yearning present in the spiritual life, which is ordered to the fullness of beatific vision. Although Aquinas’s theology is highly “intellectual,” by citing the Song he brings out the affective character of the spiritual life and conveys the centrality of love in the soul’s journey toward Christ. He also draws together contemplation and preaching through his use of the Song.

The "Suffering Servant" text of Isaiah 53 is a perennial topic of debate within Jewish and Christian biblical theology. Is the Suffering Servant an individual, a group, or both? How and why did he suffer? What role did God play in his suffering? How is his suffering related to human salvation? The answers to these questions often divide Jewish and Christian readers of Scripture as well as Christians across different denominations. In particular, Isaiah 53 tends to inform different Christian accounts of the origin, nature, and saving value of Christ's Passion. The Suffering Servant in Aquinas contributes to the debate on the meaning of Isaiah 53 and its bearing upon the Passion of Christ by examining how St. Thomas Aquinas engaged this biblical text. This book examines every explicit reference to Isaiah 53 that Aquinas makes in his biblical commentaries, Commentary on the Sentences, Summa Theologiae, and Opuscula. It analyzes how and why Aquinas interprets Isaiah 53 in the ways that he does. It focuses especially upon how Aquinas draws upon Isaiah 53 to shed light on the saving mystery of Christ's Passion. Readers will see how Aquinas articulates the relationship between God's will and Christ's suffering, the diverse forms of Christ's pain, the degree to which the Passion can be considered a "punishment," and the saving functions of the Passion as example, merit, satisfaction, and sacrifice. This book makes an original contribution to the growing field of Biblical Thomism. It examines Aquinas's exegetical methods as well as the role of Scripture within his speculative theology. And it properly contextualizes Aquinas's exegesis by considering the differences between his Latin version of Isaiah 53 and contemporary renderings of Hebrew and Greek versions. Readers will see that Aquinas's Christological interpretations of Isaiah 53 are both exegetically intriguing and theologically rich.

This addition to the well-received Brazos Theological Commentary on the Bible offers theological exegesis of the Song of Songs.

In this addition to the well-received Brazos Theological Commentary on the Bible, Paul Griffiths offers theological exegesis of the Song of Songs. This commentary, like each in the series, is designed to serve the church--providing a rich resource for preachers, teachers, students, and study groups--and demonstrate the continuing intellectual and practical viability of theological interpretation of the Bible. Praise for the Brazos Theological Commentary on the Bible "The Brazos Theological Commentary offers just the right level of light to make illuminating the Word the joy it was meant to be."--Calvin Miller, author of A Hunger for the Holy and Loving God Up Close

Unites eschatologically charged biblical Christology with metaphysical and dogmatic Thomistic Christology, by highlighting shared typological Christologies.

"The enigmatic link between the natural and artistic beauty that is to be contemplated but not eaten, on the one hand, and the eucharistic beauty that is both seen (with the eyes of faith) and eaten, on the other, intrigues me and inspires this book. One cannot ask theo-aesthetic questions about the Eucharist without engaging fundamental questions about the relationship between beauty, art (broadly defined), and eating."—from Eating Beauty In a remarkable book that is at once learned, startlingly original, and highly personal, Ann W. Astell explores the ambiguity of the phrase "eating beauty." The phrase evokes the destruction of beauty, the devouring mouth of the grave, the mouth of hell. To eat beauty is to destroy it. Yet in the case of the Eucharist the person of faith who eats the Host is transformed into beauty itself, literally incorporated into Christ. In this sense, Astell explains, the Eucharist was "productive of an entire 'way' of life, a virtuous life-form, an artwork, with Christ himself as the principal artist." The Eucharist established for the people of the Middle Ages distinctive schools of sanctity—Cistercian, Franciscan, Dominican, and Ignatian—whose members were united by the eucharistic sacrament that they received. Reading the lives of the saints not primarily as historical documents but as iconic expressions of original artworks fashioned by the eucharistic Christ, Astell puts the "faceless" Host in a dynamic relationship with these icons. With the advent of each new spirituality, the Christian idea of beauty expanded to include, first, the marred beauty of the saint and, finally, that of the church torn by division—an anti-aesthetic beauty embracing process, suffering, deformity, and disappearance, as well as the radiant lightness of the resurrected body. This astonishing work of intellectual and religious history is illustrated with telling artistic examples ranging from medieval manuscript illuminations to sculptures by Michelangelo and paintings by Salvador Dalí. Astell puts the lives of medieval saints in conversation with modern philosophers as disparate as Simone Weil and G. W. F. Hegel.

For far too long the Bible has been studied as just one among many historical and cultural documents from ancient history. That it is a foundational text for Western civilization is clear. What is too often forgotten or ignored in academic discussions, however, is that the Bible has also inspired the lives of countless saints throughout history; men and women who sought to love God and love neighbor to the point of offering heroic sacrifices, sometimes giving up their very lives. Much of biblical scholarship over the past two centuries, however, has reduced the Bible to a dead historical document with little-to-no relevance for today, beyond intellectual curiosity. This, in part, lies at the root of the tragic separation of theology from biblical studies. That theology and biblical exegesis are at an impasse has become a commonplace in academic discourse. Liturgy and Sacrament, Mystagogy and Martyrdom is an attempt to bridge the gap between theology and exegesis. It seeks to develop a theological interpretation of Scripture relying upon the best of traditional Christian exegesis and modern biblical scholarship, so that the Bible can serve, once again, as the wellspring of Christian life.

Although many Catholics are familiar with the four Gospels and other writings of the New Testament, for most, reading the Old Testament is like walking into a foreign land. Who wrote these forty-six books? When were they written? Why were they written? What are we to make of their laws, stories, histories, and prophecies? Should the Old Testament be read by itself or in light of the New Testament? John Bergsma and Brant Pitre offer readable in-depth answers to these questions as they introduce each book of the Old Testament. They not only examine the literature from a historical and cultural perspective but also interpret it theologically, drawing on the New Testament and the faith of the Catholic Church. Unique among introductions, this volume places the Old Testament in its liturgical context, showing how its passages are employed in the current Lectionary used at Mass. Accessible to nonexperts, this thorough and up-to-date introduction to the Old Testament can serve as an idea textbook for biblical studies. Its unique approach, along with its maps, illustrations, and other reference materials, makes it a valuable resource for seminarians, priests, Scripture scholars, theologians, and catechists, as well as anyone seeking a deeper understanding of the Bible.

Every discipline, including theology, requires a synthetic overview of its acquisitions and open questions, a kind of "topography" to guide the new student and refresh the gaze of specialists. In his Synthèse dogmatique, Fr. Jean-Hervé Nicolas, OP (1910-2001) presents just such a map of Thomistic theology, focusing on the central topics of Dogmatic Theology: The One and Triune God, Christology, Mariology, Ecclesiology, the Sacraments, and the Last Things. Drawing on decades of research and teaching, Fr. Nicolas synthetically presents these topics from a faithfully Thomistic perspective. While broadly and genially engaging the theological literature of the 20th century, he nonetheless remains deeply indebted to the Thomistic school that would have formed him in his youth as a theologian. This provides the reader with an unparalleled theological vision, masterfully bringing forth, at once, what is new and what is classical. Catholic Theology: A Dogmatic Synthesis will be published in English as a multi-volume work. In this volume, Fr. Nicolas discusses the mysteries of faith directly connected with the Redemptive Incarnation: the formation of orthodox Christological dogma in the course of the first centuries of the Church; the nature of the Hypostatic Union; the latter's effects in Christ's holiness, knowledge, and incarnate activity; the mariological mysteries connected to the divine maternity; the soteriological meaning of Christ's vicarious satisfaction; and the eschatological return of Christ in Glory. Serving as a professor for decades, including at the University of Fribourg, Fr. Nicolas was at once a profound scholar and a masterful pedagogue. Gathering the work of a lifetime into a single pedagogical narrative, Fr. Nicolas's Catholic Theology: A Dogmatic Synthesis provides a resource for students and scholars alike. In view of the hyper-specialization of theology today, this series of volumes provides readers with a synthetic and sapiential overview of the fundamentals of dogmatic theology from a robust and profound Thomistic perspective.

Novelist, poet, playwright, and short story writer Joaquim Maria Machado de Assis (1839–1908) is widely regarded as Brazil's greatest writer, although his work is still too little read outside his native country. In this first comprehensive English-language examination of Machado since Helen Caldwell's seminal 1970 study, K. David Jackson reveals Machado de Assis as an important world author, one of the inventors of literary modernism whose writings profoundly influenced some of the most celebrated authors of the twentieth century, including José Saramago, Carlos Fuentes, and Donald Barthelme. Jackson introduces a hitherto unknown Machado de Assis to readers, illuminating the remarkable life, work, and legacy of the genius whom Susan Sontag called “the greatest writer ever produced in Latin America” and whom Allen Ginsberg hailed as “another Kafka.” Philip Roth has said of him that “like Beckett, he is ironic about suffering.” And Harold Bloom has remarked of Machado that “he's funny as hell.”